In physical reality and first order virtual reality there is something very simple that you can do to physically establish your presence. Look down, and you will see your body, or see parts of it continuously in peripheral vision.1

An erfahren experience typically means that the experiencer gains something from it, usually knowledge. It is therefore directly linked to a specific moment in time, and is an experience that can be recalled in order for future decisions to be made. E.g. If I were to observe someone becoming ill from eating a certain type of berry, then I would learn not to eat that type of berry in future.

‘Erfaren’ is one of two German verbs that are used to define experience. The other is ‘erleben‘.

an intense, personal experience that deeply effects the experiencer’s inner life

An erleben experience typically describes a singular, exciting, and profound event, however these can be both positive or negative. It often involves the experiencer embodying the experience on some level.

‘Erleben’ is one of two German verbs that are used to define experience. The other is ‘erfahren‘.

a generalisation of the ‘drama manager’ concept put forward by Joe Bates in Virtual reality, art, and entertainment. Originally published in Presence: The Journal of Tele-operators and Virtual Environments, Pg. 133–138, 1992.

an intelligent, omniscient, and disembodied agent that monitors the virtual world and intervenes to drive the narrative forward according to some model of quality of experience. Often used as a surrogate for the human author.1

are the phenomena that occur when virtual reality elements – primarily from video games – are associated with real life elements triggering subsequent thoughts, sensations and / or behaviour among experiencers / players

a form of non-verbal communication through the body – typically the hands or head – that, when tracked by a motion sensing camera attached to a computer, can be interpreted as movement and mirrored in virtual reality

Using gestures in virtual reality empowers the experiencer with the ability to physically influence the experience e.g. a swing of the arm could be mirrored through an avatar in the virtual world as part of a boxing game.

a virtual reality (VR) experience where the user is a disembodied observer in an unfolding narrative – as if watching a movie – but incapable of making changes to the world or talking to the characters

a form of digital interactive experience in which experiencers create or influence a dramatic storyline through their actions

When the balance between an ordained narrative and freewill interaction is tweaked just right, it creates the perception of great “game play” – a sweet feeling of being part of something large that is moving forward (the game’s narrative) while you still get to steer (the game’s play).1

This is most commonly used to refer to movement within the virtual environment e.g. how an avatar navigates the virtual world, but can also refer to movement outside of the virtual environment e.g. how the experiencer navigates the real-world while in a virtual experience.

Locomotion mechanics in virtual reality can be broken down into three primary categories:
1. Perambulation
2. Teleportation
3. Transportation

Other VR peripherals include those looking to simulate real-life objects or apparatus e.g. bikes (VirZoom), weapons (PS VR Aim, The VR-15 from VRsenal), shoes (Taclim). Peripherals can also be classed as devices that help enhance the environment e.g. candles.

Another way of thinking of this illusion is as the automatic and rapid response from the experiencer to the important question: Is this really happening? If the response is ‘no’ then the illusion is broken.

Psi is determined by the extent to which the system can produce events that directly relate to the participant, and the overall credibility of the scenario being depicted in comparison with expectations.1

…a key component of Psi is that events in the virtual environment over which you have no direct control refer directly to you…2

It suggests that experiencing sensory input that is different than what is expected, combined with dizziness, are symptoms associated with being poisoned. From an evolutionary perspective people who are poisoned benefit from throwing up quickly.

a state that describes when an experiencer responds to a virtual reality as if it were real

If you are there (PI) and what appears to be happening is really happening (Psi) then this is happening to you! Hence you are likely to respond as if it were real. We call this ‘response-as-if-real’ RAIR.1

the sensation of having no tangible relationship with your surroundings despite feeling embodied in the virtual world

The phrase was coined by Story Studio and the name is a reference to actor Patrick Swayze who played the protagonist in the 1990’s film Ghost. In the film, Swayze’s character dies and returns as a ghost to help his wife solve the mystery of his death. The effect observed by Story Studio, looks to describe the struggle of affecting a virtual environment and the people who occupy it when no observable feedback from the world is being received.

is the feeling of general discomfort caused by experiencing virtual reality

Symptoms can include: headache, nausea, vomiting, drowsiness, and disorientation. Research suggests that discomfort – of which virtual reality sickness is a contributing factor – is a major barrier for initiating engagement with virtual reality. Therefore, significant development time has been spent trying to reduce and eradicate virtual reality sickness through innovation in technology.